488 research outputs found
Not Rewriting Lazarus’ Story
No full textIn this sermon, the author considers Jesus’ raising of Lazarus (John 11:1-45). Focusing on the awkwardness of Jesus’ deliberate delay in coming, the sermon asks whether rewriting the incident to make Jesus appear more caring is advisable. No, rewriting the incident would undercut three lessons in the story as written. First, Jesus’ chief concern was with God and his glory. Second, Jesus revealed more about himself, namely, “I am the resurrection and the life.” Third, Jesus wanted to deepen the faith of Lazarus’ family, friends, and his disciples then and since
Hewlett Johnson, dean of Canterbury, at reception in his honor, New York, November 14, 1948
No full textPrinted on accompanying paper: Dean of Canterbury at reception in his honor in New York, November 14, 1948. THe Very Reverend Hewlett Johnson, Dean of Canterbuy Cathedral, England, chats with members of the Committee of Welcome at a reception given in his honor in New York on November 14, 1948. From left to right: Olin Downes, music critic and author; Dr. W.E.B. DuBois, Research Director of the NAACP, author and lecturer; The Very Reverend Hewlett Johnson, D.D., Dean of Canterbury; Rabbi Louis I. Newman, Congregation Rodeph Sholom; The Very Reverend Donald J. Campbell, Dean of Christ Church Cathedral, Springfield, Mass. Credit Line (Julius Lazarus). From: Rev. John W. Darr, Jr. 200 West 107th Street, New York, NY
Stamped on verso of image: Photo by Julius Lazarus, 23-02 29th Avenue, Long Island City 2, N.Y., Tel. RAvenswood 6-0866
PH Coll 601.7Religion
“Environmental Racism! That’s What It Is.”
No full textIn this essay, Professor Lazarus discusses former NAACP director the Rev. Dr. Benjamin Chavis\u27s characterization of U.S. environmental policy as environmental racism. He first justifies this provocative topic choice and then suggests that Chavis\u27s allegation has transformed environmental law. Professor Lazarus next discusses the details of this transformation, arguing that Rev. Chavis has essentially reshaped the way environmental law and justice are conceived. He offers examples of various environmental programs and social and political effects traceable to Chavis\u27s environmental racism comment. Finally, the conclusion provides some of the author\u27s ruminations about the future of environmental law and policy
Przebudzenie z melancholii. Projekat Lazarus Aleksandra Hemona
No full textAwakening from the melancholy. Projekat Lazarus of Aleksandar Hemon The focus of the text entitled Awakening from the melancholy. “Projekat Lazarus” of Aleksandar Hemon is an exploration of the existence of the main character Vladimir Brik. Adopting Zygmunt Freud’s terms like melancholy, mourning, loss, the author shows dichotomous division of the main character’s life. The first part is an unreal, sleepy life and it characterises Brik’s life in the United States. He is involved in asystem of socially behavioral pagadigms — “phantasmats” the theory is presented in the work of Roland D. Laing which he subconsciously supports trying to adapt to his American family’s expectations. The second part of his life is defined as aware, authentic, and conscious. It begins on the cemetery in Kiszyniow where Brik experiences an explosion of despair, and decides he would not come back to America. Kiszyniow’s graveyard is one of the last stops in his travel following the steps of Lazarus Averbuh a Jew immigrant to Chicago on whose life and death Brik had planned to write anovel. The Brik’s travel seems to be ajourney to self-knowledge with its climax on the Kiszyniow cemetery. The term “loss” which is conected with melancholy is related to the loss of homeland, relations with ancestors and afeelling of being out of place.Awakening from the melancholy. Projekat Lazarus of Aleksandar Hemon The focus of the text entitled Awakening from the melancholy. “Projekat Lazarus” of Aleksandar Hemon is an exploration of the existence of the main character Vladimir Brik. Adopting Zygmunt Freud’s terms like melancholy, mourning, loss, the author shows dichotomous division of the main character’s life. The first part is an unreal, sleepy life and it characterises Brik’s life in the United States. He is involved in asystem of socially behavioral pagadigms — “phantasmats” the theory is presented in the work of Roland D. Laing which he subconsciously supports trying to adapt to his American family’s expectations. The second part of his life is defined as aware, authentic, and conscious. It begins on the cemetery in Kiszyniow where Brik experiences an explosion of despair, and decides he would not come back to America. Kiszyniow’s graveyard is one of the last stops in his travel following the steps of Lazarus Averbuh a Jew immigrant to Chicago on whose life and death Brik had planned to write anovel. The Brik’s travel seems to be ajourney to self-knowledge with its climax on the Kiszyniow cemetery. The term “loss” which is conected with melancholy is related to the loss of homeland, relations with ancestors and afeelling of being out of place
Performing Black British Memory: Kat François’s Spoken-Word Show Raising Lazarus as Embodied Auto/Biography
No full textSince the 1990s, Black British poets have been at the forefront of developing the ‘one-person poetry show’ or spoken-word play, an apt format for negotiating diasporic history and cultural memory in a public arena. The focus of this paper is Kat François’s one-woman show Raising Lazarus (2009/2016), which stages the poet’s own quest for information about her Grenadian relative Lazarus François, a WWI soldier. In a media-specific analysis, this paper explores how François’s text is semantically enriched when translated into a live performance. The authenticity effect typically produced in spoken-word poetry through the unity of author and performer is compounded in Raising Lazarus by textual and paratextual keys that frame François’ show as embodied auto/biography. Merging life-writing, monodrama, and spoken-word poetry, Raising Lazarus reveals the one-person show to be an effective and popular medium for Black British poets to articulate personal experience and negotiate collective identities through performance
Lady/Applicant: On The Lazarus
No full textThis research investigates the ‘performativity’ of the ‘author function’ through collaging the audio recordings of American poet Sylvia Plath. The ‘author function’ is a term by Michel Foucault to describe how readers attribute certain characteristics that they believe belong to the author and ascribe them to the writing. ‘Performativity’ is a term used by Judith Butler to describe a set of actions that ascribe and predetermine a set of attributes to a subject through his or her gender, age, timeframe, nationality and race. The ‘performativity’ of the ‘author function’ appropriates these characteristics and attributes them to the author. How the determination of an authorial identity translates to the interaction of the practice component of the project, which includes several components of digital collage, is through attributions that readers make in the creation of an author. The practice component of the project consists of the collage of audio and video recordings, the programming of video with Max/MSP/Jitter, ‘performative’ elements and collage poetry on Twitter. The audio component was collaged from two poems entitled ‘Lady Lazarus’ and ‘The Applicant’ that Plath read to the British Council in 1962 to form a new poem entitled Lady/Applicant: The Lazarus. The video component consists of collaging recorded video clips of storefront and street signs in Camden, London, where she is associated with living and committing suicide at. A second video collage entitled Shadows/Shadows/Tomb takes place at a cemetery close to my residence in 2011 and documents symbols of death that reference my own authorial identity. The second set of videos run on a Max/MSP/Jitter patch that display four screens of filmed texts inscribed on tombstones that play four streaming poems through a systematic structure of boxes. The screens are displayed in each box and sourced from separate folders to display and play the film clips. The practice of collage and constraint-based poetry complicates the constitution of being the author when the collagist of Plath’s poetry is a different gender than hers. This research then expands on how identity radically shifts in the text when the subject and the collagist have very different identities. The radical shift in a collage takes place within a predefined and generalized concept of the reader as determined by Stanley Fish, a prominent writer on the subject of ‘reader-response criticism’, who believes that one way a reader could be approached is through his or her relationship with the writing
St. Lazarus Cloister of the XI century in ancient Kiev
No full textУ статті розглянуто атрибуцію церкви, що була відкрита археологічними розкопками наприкінці XVIII ст. на південно-західному розі митрополичої садиби біля Софійського монастиря.Проанализировав археологические раскопки 1909—1910 гг. храма в усадьбе митрополитского двора, летописные источники о монастыре Св. Лазаря в Киеве, а также данные о местоположении подобного монастыря в Константинополе, автор пришел к выводу, что в центре древнего Киева в середине XI в. недалеко от Софийского собора, помимо церкви Св. Ирины и монастыря Св. Георгия, находился монастырь Св. Лазаря.Having analyzed the 1909—1910 archaeological excavations of a church in the metropolitan courtyard, the annalistic sources about St. Lazarus’ Cloister in Kiev, as well as data on the location of a similar cloister in Constantinople, the author came to a conclusion that besides St Irina’s Church and St. George’s Cloister there was a St. Lazarus’ Cloister located in the center of ancient Kiev, not far from the St. Sophia's Cathedral
St. Lazarus Cloister of the XI century in ancient Kiev
No full textУ статті розглянуто атрибуцію церкви, що була відкрита археологічними розкопками наприкінці XVIII ст. на південно-західному розі митрополичої садиби біля Софійського монастиря.Проанализировав археологические раскопки 1909—1910 гг. храма в усадьбе митрополитского двора, летописные источники о монастыре Св. Лазаря в Киеве, а также данные о местоположении подобного монастыря в Константинополе, автор пришел к выводу, что в центре древнего Киева в середине XI в. недалеко от Софийского собора, помимо церкви Св. Ирины и монастыря Св. Георгия, находился монастырь Св. Лазаря.Having analyzed the 1909—1910 archaeological excavations of a church in the metropolitan courtyard, the annalistic sources about St. Lazarus’ Cloister in Kiev, as well as data on the location of a similar cloister in Constantinople, the author came to a conclusion that besides St Irina’s Church and St. George’s Cloister there was a St. Lazarus’ Cloister located in the center of ancient Kiev, not far from the St. Sophia's Cathedral
The role of the Lazarus story in the redaction of the Fourth Gospel
No full textThree types of theories have been set forth to resolve the problems with the FG as it now stands: that the original order of the manuscript was destroyed by an accidental displacement of the leaves; that the Fourth Gospel is the combination of several independent sources; that one body of material has been edited several times. The purpose of this study is to test and refine those theories. The raising of Lazarus has been chosen because it provides a useful means of investigating these theories and holds the key to resolving a number of the problems with the FG. In Chapter I consideration is given to the problem with the present position of the Lazarus story. The cleansing of the temple was transposed to make room for the raising of Lazarus; the conversation with the brothers was transposed to make room for the cleansing of the temple; and the raising of Lazarus was transposed to make room for the conversation with the brothers. Chapter II focuses on the problem with the present version of the Lazarus story. Chapter III given to the formation of the Lazarus story. There are four distinct stages: (1) creation of a traditional story; (2) addition of theological material; (3) addition of historical material; and (4) revision of an eschatological addition. Chapter IV focuses on the reason for the present position of the Lazarus story. A comparison of the references to Lazarus in chapters 11-12 with the references to the beloved disciple in chapters 13-21 shows that after the death of Lazarus, he was idealized as the first beloved disciple. In Chapter V examination of the references to present and future eschatology in the FG reveals that after the death of John the son of Zebedee, the Lazarus story was modified to explain what happens to those believers who die before the Lord returns. One may conclude that some of the problems with the FG as it now stands stem from an editor\u27s desire to make Lazarus the beloved disciple, while others are due to concerns about the delay of the parousia. (Abstract shortened with permission of author.
SYLVIA PLATH’S CONFESSION ON SUICIDE THROUGH SYMBOLS IN “LADY LAZARUS” AND “EDGE”: AN EXPRESSIVE APPROACH
No full textSylvia Plath‟s “Lady Lazarus” and “Edge” are both confessional poems
emerged in the middle of 20th century. Confessional poetry is poetry with the
personal subject or “I” (the poets themselves) and it contains the topic of personal
issue that is considered taboo to be publicized. For it is related closely to the
author, the poems, “Lady Lazarus” and “Edge”, are best to be looked into using
Expressive theory by M.H. Abrams. Northrop Frye‟s theory of symbols is
supporting the expressive theory and it is applied to deepen the analysis of this
study. The problem yet to be revealed is about how the symbols in “Lady
Lazarus” and “Edge” express Plath‟s confession of committing suicide. The
analysis is done by the writer through some steps. First, the writer reads both
poems and identifies the symbols found in the poems; it is continued by looking
up the definition in the dictionary of symbols. Afterwards, the writer connects
them with the life story of the poet that is portrayed through the poems; this is the
foundation the writer uses to start expressive analysis. The result of the study
reveals Plath‟s confession of suicide expressed as a confrontation towards
patriarchal culture and she took an extreme action such as committing suicide to
challenge the male dominance that oppressed not only her, but all the women
living in 1950s-1960s society
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